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Released on May 25, 2015 via Rise Above Records
Undoubtably, I have made an unexpected choice for an album to review. The band Lucifer just released doom/occult rock/heavy metal tinged full-length album Lucifer I, and after many listens, I’m still on the fence with this one. They’ve managed to get a heap of press, i.e. a cover shot and feature in Decibel magazine, and I swear Lucifer’s lead vocalist, Johanna Sadonis, formerly of The Oath, looks exactly like Nicole Kidman, but that info right there is utterly superfluous in the broader sense. I don’t want to hail a band for any other reasons than my appreciation for their music, so let’s get to that and forget the rest, shall we?
Lucifer also features former Cathedral guitarist Gary Jennings, and the doom riffs come in great plenitude on Lucifer I, as to be expected. The first track opens bombastically, and lead singer Johanna Sadonis’ vocals captures that old occult rock vibe, building up increasing anticipation for the rest of the material. While sustaining interest in the succeeding track, the band unfortunately falls flat on the tracks in the middle of the album, slowing down without varying the tempos much, sounding increasingly like a stoner rock band.
The song arrangements are perhaps to blame. The lead track ‘ABRACADABRA’ starts things off with the groove and the band don’t tread similar water until the final two tracks. Most of the material in between relies too much on doom rock riffs that barely get you excited. The choruses aren’t quite memorable in this segment, and the songwriting doesn’t come to life again until ‘Morning Star’ breathes a little life into the listener.
I would have loved it if the band used some groovy segments in all their songs. Unfortunately, Gary Jennings’ riffs get all Blue Oyster Cult on me and I rarely even muster a wink of an eye as the band seem to play for eternity. The final track, ‘A Grave For Each One of Us’, is haunting and worthwhile.
There’s no doubting the band’s potential on Lucifer I, and not as if to say I’m utterly unimpressed by this record, I think the band needs some better songwriting magic the next time around. There could have been more lead guitar on this, especially since the presskit calls for blues rock as part of the influence behind this record. It would be fair to say that Witch Mountain are all over what Lucifer can barely muster with any consistency, and until Lucifer finds some way of bringing more nuanced songwriting and variety to their sound, I’ll take other bands of their ilk more seriously. Sadonis’ vocals helps me recall smoky, hazy opium houses and her voice is certainly something to build on in the future, but Lucifer I sounds to me like the band haven’t found that niche that perfectly connects with the listener in a way that most people cannot deny.
Simply put, they’re a promising band, and this is worth checking out if you’re into some of their influences, but calling this debut a must-have is just a little too far-fetched.
